作　　者： ;

机构地区： 华南农业大学

出　　处： 《戏剧艺术》 2015年第4期22-31,69共11页

摘　　要： 汉代以后，以“杂”命名的各种艺文形式十分繁荣，并已出现辨体的倾向。除了唐时已有的“杂剧”称名外，大量戏剧形态冠以“杂”字，如杂伎、杂戏、杂乐等，且涵义相通、使用交错。与此同时，伴随着文学的自觉和人的自觉，文学上的“杂体”也在形成发展，包括杂赋、杂体诗等。许多材料表明它们之间，它们与当时乃至后世的戏曲之间存在密切的联系。也有很多“杂”的共性：都与先秦诗乐传统相关 都内容丰富、形式多样，不拘一格，甚至炫技求变 都倾向真实的人生人性，追求真实情感的真切表达 都属于被另类被正统观念侧目的一群。到了宋代，杂体已经盛行并被许多人接受．各种思想观念、艺文体类、形式技法交融共生，激荡创新，造成“杂”的特点在形成期的戏曲形态上逐步集中和强化，深刻影响和造成了宋以后乃至整个中国戏曲的“杂”，令元杂剧最终以“杂剧”命名并铸就了时代文学的高峰。 After the Hart Dynasty, various forms of art named za - （miscellaneous） flourished and began to form a stylistic tradition. Besides zaju, a term from the Tang Dynasty, there were many dramatic forms termed za-, such as zaji （miscellaneous singing and dancing）, zaxi （miscellaneous show）, and zayue （miscellaneous music）, with indications of the emerging of the style of za （miscellaneous and correlative）. At the same time, with the self-consciousness of literature and humanity, the stylistics of za in literature were also developing, including za fit （miscellaneous prose） and za poetry. Many materials revealed the close contacts among these and showed the common qualifies of za： they are all related to the pre-Qin-Dynasty tradition of music and poetry they are all rich in content, diverse in forms, and highlighted new-fangled skills they all tend to show real humanity and true feelings and they are all marginalized and even despised by the orthodox. In the Song Dynasty, za and za styles had been popular and widely accepted, various ideologies, artistic styles, forms and techniques were even more mingled, resulting in the characteristics of za which was absorbed and became prominent in the formative stage of Chinese opera. Those characteristics profoundly influenced and shaped the za of the post-Song-Dynasty operas, and Chinese opera as a whole, until the opera of the Yuan Dynasty was termed zaju and reached the summit of literature in its times.

关 键 词： 杂体 杂剧 杂赋 杂体诗 杂戏 戏曲文体 戏曲史

分 类 号： [J80]

领　　域： []